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THE ART 



OF 



Modeling Flowers in Wax 



BY 



GEOKGE • WOEGAK 



PRICE, ONE DOLLAR. 



:^ 




FOK SALE BY 

II. H, DiCKiisrsoisr, 

CORNER OF MONTAGUE PLACE AND HICKS ST., BROOKLYN, N. Y. 

WHIPPLE & CO., CORNHILL, BOSTON. 
SCHOLZ & JANENTZKY, 

112 SOUTH EIGHTH STREET, rHILADELPUIA. 

IS07 



K 



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Entered according to Act- of Coiigreesi in the year 18fi7. by 

HENDRY H. DICKINSON, 

in flie C'.e^k'e OtY.ce of the Dit^trkt Court of the United State?, for the 

Eastern District of New York. 



The author has great pleasure in informing his 
pupils that he has appointed Mr. Dickinson sole Agent 
for the sale of his book and materials for wax flow- 
ers for Brooklyn, feeling confident that his reputa- 
tion for taste and care in supplying every thing 
requisite for the study of the art, so essential for 
the pupil, will be a guarantee that he could not have 
placed the agency in better hands. 

. Wax in sheets, of the best manufacture, as used by 
Mr. Worgan, author of "The Art of Modeling Flow- 
ers in Wax," the various colors and blooms mamffac- 
tured by him, and every material for this elegant art, 
can be obtained only in Brooklyn, of his sole Agent, 

H. H. DICKINSON, 
BROOKLYN HEIGHTS PHARMACY, 

CoPv. Montague Place and Hicks St., Brooklyn. 

Opposite the Pierrepont House. 

ALSO OF 

WHIPPLE & CO., CORNHILL, BOSTON; 
SCHOLZ & JANENTZKY, 

112 SOUTH EIGHTH STEEET, PHILADELPHIA. 



f ^^ 



PACE 



In submitting the AKT OF MODELING 
FLOWERS m WAX to public favor, I am in- 
duced to believe it will be found acceptable ; while, 
to the inexperienced, it will afford much valuable 
information, removing real and apparent difficul- 
ties. It will also present a stimulus to many to 
exercise their imitative powers in copying nature's 
most beautiful works, thereby cultivating a taste 
for the Fine Arts, which, in these days of advance- 
ment, is absolutely essential in the varied pursuits 
of life. 

The Author trusts that he has conveyed the infor- 
mation to the reader in the most simple manner, his 
object being to make it a book of instruction ratlier 
than a mere work of words, whose tendency is rather 
to perplex tlian aid. 

The information contained in this little treatise 

is derived from long experience in the Art. Every 
1* 



6 

rule laid down is absolutely needful to follow as 
a guarantee of success to the pupil. 

"With tliese few introductory remarks, the Author 
submits " The Art of Modeling Flowers in "Wax" 
for the approval of his readers. 

New-York, February, 18G7. 



WAX FLOWERS 



AS A'N 



IMITATIVE AND DECOEATIVE AET, 



The art ol imitating flowers in wax is, perhai^s, 
the most beautiful metliod known of preserving a 
life-like representation of garden-gems, as the form, 
color, and texture can be imitated to perfection ; 
while artistic feeling on the part of the student is 
required to complete the idea that flowers can be 
made to resemble nature in every respect, as regards 
form, color, the texture, stamens, and other parts ol 
the natural flower. 

Most of the flowers I have seen made in wax I 
will not call imitations of nature, but stifi", awkward, 
badly tinted things, devoid of beauty, verisimili- 
tude, or taste. Nothing looks so unlike a natural 
flower ; and these faults can be easily avoided by a 
little observation of nature. 

The first rule I would lay down is to examine the 
natural flower. Take the pattern of the petals, count 
the number in the flower, and mark it on the pat- 



tern ; observe the same rule as regards the calyx 
and stamens ; mark the color carefully, as this is 
the most difficult part of the study, though perhaps 
the most pleasant and useful, as the tints in flowers 
are of endless variety. Attention to the rules laid 
down for colorino; will insure success. 

Form is a difficult thing to describe, but ]N"ature 
will be the truest guide ; for the student can see, at 
a glance, if the petals be placed on regularly, as is 
the case in a Dahlia, or according to taste, as in the 
Rose. 

The texture is imitated by modeling with the 
pin ; making the edges soft and fine with the pres- 
sure of the head or point. The rules for making 
the stems are simple. For a small flower, take the 
finest wdre ; for medium-sized flowers, the larger 
size ; and for large ones, the largest-sized wire. 

Be very careful in making the flower of the proper 
thickness. This is an easy matter, as the wax is 
made of various thicknesses. Should you wish to 
imitate a thin petal, take the thin w^ax ; for a thick 
one, take the thick wax ; and, should you require 
a still thicker petal, double the wax together. 

After imitating the flowers, take care, in group- 
ing them with taste, also not to fall into the vulgar 
practice of arranging them in the formal manner 
that some florists adopt, namely, placing one large 
flower in the centre of the group, and a row of 



9 



flowers round in red, white, or blue. To all artists 
this is repulsive, and whence could have originated 
such a barbarous custom (I will not call it taste) is 
a matter of wonder. Certainly not from Paris, 
where flowers are one of the necessaries of life ; nor 
London, where they are used more in garden or 
hothouse decorations than agremens for the draw- 
ing-room. The true artist will not degrade art by 
following " the fashion." This may suit the modes 
of millinery, but Art should not wear the paint or 
mince the gait of Fashion. 



MATERIALS ESSENTIAL FOK IMITATING FLOWEES 
IN WAX. 

A pair ot scissors, light and thin, such as used by 
surgeons, are the best adapted for the purpose ; they 
should be thin in the blades and rather loose in the 
rivets, so as to cut easily round the paper pattern ; 
a cup to hold water ; a pallet ; three or four steel 
pins, with bead heads of difi'erent sizes ; six or eight 
bristle brushes; two or three small sable pencils; 
three rings of green wire of different thicknesses ; 
two wooden molds for forming bell-shaped flowers, 
such as the Lily of the Yalley or Stephanotas ; a 
small quantity of gum arabie dissolved in pure 
water ; some white wax in sheets of a thin texture, 
also some of the extra thick or double wax ; a few 



10 

tints of green wax, and a shade of light yellow wax ; 
sonic bloom for white flowers and tea roses, also 
some tints for making Yiolets, dark Hoses, Gerani- 
ums, and very brilliant colored flowers, prepared ex- 
pressly by myself. 

The following colors in powder : AVhite ; chrome 
yellow, 'No. 1 ; chrome yellow, No. 2 ; chrome yel- 
low. No. 3 ; carmine ; ultramarine blue ; prussian 
blue ; vermilion ; magenta or solferino. 

These can be obtained at Mr. H. H. Dickinson's, 
corner of Montague and Hicks streets, Brooklyn, 
and most of the artists' paint-stores in the United 
States. 

The tints before mentioned made by myself are : 
Sofrano E,ose bloom, two or three shades ; white 
bloom ; prepared violet carmine ; prepared mauve ; 
French violet ; rose pinks, three shades. By using 
these colors you can get the very delicate tints seen 
in Roses, Geraniums, Yiolets, and Heartsease without 
the trouble of mixing them. There is a preparation 
in these that makes the color very easy to lay on, 
and produces the soft and velvet-like look of nature. 
They should never be used except as dry color to be 
rubbed on with the flngers. 

Be sure that you see the signature G. AYorgan, 
on the boxes of bloom, as none other are genuine 
unless signed by me. 



11 



GENERAL DIRECTIOXS FOR TAKING THE PATTERNS OF 
FLOWERS FROM NATURE, MODELING, ETC. 

Haying selected the necessary materials, procure 
a natural flower of simple formation ; take the pat- 
tern on paper. This is done by separating the pe- 
tals and taking one of each size, placing them upon 
paper, and passing a brush with any dark color over 
the natural petals lying on the white paper. It will, 
by this means, trace the exact size of the petal white, 
then cut the colored part off, which will leave the 
pattern. Count the number of the diiferent sizes, 
and write it on the pattern ; then observe if the 
texture of the natural flower be thick or thin ; it 
the former use thick wax, if the latter the thin wax. 
Place the pattern on the wax and cut round the edge 
of the pattern, turning the wax toward the scissors, 
by this means smoothing the edge. To prevent the 
wax sticking to the scissors, press them on a wet 
sponge, or damp them with a little water. The 
sponge is the better, as the water has a tendency to 
run from the scissors to the wax, unless great care 
be taken. 

After you have cut the requisite number of petals, 
observe if the stem of the flower is thick or thin, 
stiff or supple ; use the thick wire for the former, 
and if thin take the fine wire. 

There is a medium sized wire used for such flowers 



12 

as Eose-buds, Carnations, etc. Should the stem be 
very thick, two or three sizes can be doubled to- 
gether to give it strength. This will be requisite 
in such flowers as the Magnolia or Water Lily. 

One of the most important rules to be observ^ed 
is to double the w^ire over at the top twice or thrice 
to make a kind of knot to secure the foundation to 
the stem, w^hich should be molded in the shape ot 
the heart of the flower. In mDdeling rose-buds, 
the foundation must be made very large, and in the 
shape of the flower, so that tlie petals may fit close- 
ly round. 

Where stamens form the centre of the flower, they 
must be placed on the wire, and a very small por- 
tion of wax pjit at the base to secure them to it. 

Stamens are made of white waxed thread. If 
they are thick as in the Fuchsia, spool thread ]N"o. 
20, waxed w^ith white wax; for the Azalia, and 
flowers of a similar character, No. 40 ; for the finest 
flowers, such as Mignonnette and' Laurestinas, No. 
100. Having waxed the thread, place a small por- 
tion of the wax on the top the exact size of nature, 
and conform its color wdth that of the natural 
flower. Should the stamens be red or any color 
but white, take the bristle brush and paint them 
witliwet color, being careful not to rub the tops ofi; 
Count the number of stamens. If only a few are 
observable, as in the Azalias, Fuchsias, Laurestinas, 



13 

and Geranium, when in large clusters, as seen in the 
Wild Rose, Orange Flower, and Myrtle, put as many 
as you think looks natural. It was once the custom 
to form stamens by taking the sheet w^ax, turning 
down the edge, and cutting them in fine strips ; this 
is done now in some cases when the stamens are of 
uniform height. I j^refev in all cases to make the 
stamens of thread, though it requires much longer 
time ; but in art time is but a secondary considera- 
tion, truthfulness being the only aim of the student. 

There are two ways of using the color, one by 
taking the bristle brush, dipping the end of the 
stick in water and dropping it on the pallet, put- 
ting a small portion of the color on the brush, 
then passing it gently over the surface of the wax 
petals ; the other is by rubbing the color on the 
surface with the finger and thumb of the right 
hand, taking care that the color come not in con- 
tact with the bottom of the petal, or it will pre- 
vent the adhesion to the foundation. 

All transparent looking flowers must be colored 
with the wet color, by passing the brush over the 
petals commencing at the top, letting the pressure 
on the brush deepen the shade toward the centre 
of the petal. This is a rule you must attend to in 
making the Pink Cabbage Eose, as tlie petals are 
much lighter at the top. Should you require a 
deeper shade at the top of the petal, as in the Pink 
2 



14 

Geranium, yon must color the petal upward, letting 
the pressure and depth of color fall on its edge. In 
all cases where the petal is painted with the sable 
brush, as in the Carnation Arbutalan and Geranium, 
wet color must be used, as the delicate lines can 
not be put on smoothly, should the under tint be 
made of dry color. 

Avoid taking too much water, as the color 
should be only damp, not wet enough to run. Be 
careful not to dip the bristle part of the brush into 
water, as it will make the color too thin ; but put 
the water on the color with the end of the brush- 
stick, adding water when needful, as the color 
soon dries. 

For very velvet-like colors and texture, (as in the 
Heartsease and the back petals of the Geranium,) 
curl the petal with the pin into shape first, then 
color ; this is to prevent the pin rubbing the color. 

You can color all transparent colors before the 
petal is curled. Hold the brush upright and pass 
smoothly over the surface. When one side of the 
petal is colored, let it dry, and then color the other 
side. Sec if tlie color be the same on each side. 
If the back petal is brighter in nature, be sure to 
imitate the color ; this rule omitted destroys the 
natural appearance of your copy. 

For Tea Eoses and Violets, dark damask Eoses 
and Azalias, the color is ruhhed on. For this pur- 



15 

pose use the blooms prepared by me, and spoken 
of in the list of materials. They are to be rubbed 
on with the finger and thumb of the right hand, 
holding the petal at the base with the finger and 
thumb of the left hand. 

Should any fine lines or marks be seen on the 
petals, take the sable brush and paint over the 
petal. For the Geranium or Arbutalan you may add 
a little ol the very thinnest gum-water. This will 
give a sharpness or distinctness to the penciling ; 
but do not use too much, or it will produce a glazed 
appearance that looks very unnatural. 

In all cases where the bloom, is used, the petals 
are curled after they are tinted. Be sure to observe 
if the petals are darker or lighter in the centre of 
the flower, and tint accordingly. 

The tints of color are made by combining the 
colors mentioned in the list of materials. Take a 
small portion of the following colors and proceed 
to practice the mixing of colors. ' 

The tint required is put on the left side of the 
page, and the colors used for producing it on the 



right. 




Crimson is produced by 


Carmine. 


Pink 


Carmine and -white, 


Rose pink " 


( Carmine, white and light 
•j blue. (A very small 
( portion of the latter.) 


Purple 


Carmine and blue. 



16 



Dark purple is produced by 

Green 

Olive green " 

Dark black green " 

Brown 

Pale blue " 

Lemon color " 

Buflf 

Salmon color " 

Pale violet " 

Brigbt blue 

Scarlet 

Very beautiful purple " 

Bright lake red 

Bluisb green " 

Transparent wliite " 

Yellowisb wliite " 

White added to any of 
tint. Arrow-root can be 
colors, but care must be 
color wet. 



^ Carmine and Prussian 
] blue. 

Prussian blue and yellow. 

j Prussian blue and chrome 
I yellow, No. 2. 

j Prussian blue, orange, and 
] a little carmine. 

Carmine and green. 

Ultramarine and white. 

Pale yellow and white. 

Orange and white. 

j Orange, white, and a little 
l carmine. 

Mauve and white. 

Ultramarine 

Vermilion and carmine. 

Violet carmine. 

Solferino or magenta. 

\ Yellow, white, and prus- 
\ sian blue. 

{Arrow root finely ground 
with white color. This 
must be used dry. 

( White color and a small 
•N portion of the palest 
( yellow. 

these colors lightens the 
used with any of these 
taken not to make the 



17 



FORMING PETALS AND ADJUSTING THEM ACCOEDING 
TO NATURE. 

The art of curling or forming the petals into a 
concave shape requires strict attention to the fol- 
lowing rules : 

Take the pin in the right hand holding it with 
the thumb and forefinger, place the petal in the 
palm of the left hand, then roll the pin with the 
right hand, letting the bead part press the petal, 
and pass sharply round its extreme edge, taking 
care not to rub the petal with the head of the pin, 
but let it revolv^e easily ; the pressure ought to be 
moderate, so as to avoid tearing the wax. 

Should the wax stick to the pin, press it on. the 
damp sponge. 

For making the ragged edge, so often seen in 
nature, take the point of the pin and press the 
edge of the petal, rubbing it till it becomes very 
thin. The best practice for attaining proficiency 
in curling the petals properly is, to take small 
pieces of wax, and round them with the bead or 
head of the pin, afterward thinning the edge wdth 
the point. When lines are required, the pin should 
be pressed on the petal ; these are very distinct in 
the White Lily and Orange blossom. 

The petal of the Eose is very round or bowl- 
shaped. After curling it with the head of the pin, 
2* 



18 

take tlie right tliumb and forefinger, and mold it 
into a round or concave sliaj^e ; this forms the cup 
or chalice of the Hose. 

In the outside petals you must make a small tuck 
at the base of each, so as to contract them ; this is 
done by turning the wax over at the bottom. 

For ease in the construction of the flower, hold 
the stem with the foundation in the left hand, plac- 
ing them on with the right thumb and forefinger, 
care being taken that you observe whether the pe- 
tals are put on in regular or irregular numbers. In 
flowers that have flve or ten petals in a row, you 
will find it easier in construction, as space is left 
for the succeeding row of petals by the preceding 
one. 

Roses are very irregular in formation, the petals 
are generally bunched in tiers of two or three. 

In the Rose-bud they seem to follow each other 
round the foundation and the petals inclining to 
one side. 

- ISTo positive rule can be given in forming the Rose ; 
much is left to the taste of the pupiL Copy the 
character of the flower. Should you find that it 
looks stiff or awkward, take the petals off" and put 
them on in a diflerent manner. 

Be sure you adopt not the vulgar error of mak- 
ing the Roses too full-blown, as they lose their 
beauty after the cup-like appearance is gone. 



19 

Tlie bnds are exceedingly beautiful of the Tea 
Rose. This is perhaps the most difficult of all 
flowers to imitate, as great taste is required in the 
arrangement of the petals. French people excel 
all the world in making artificial Roses, because this 
element of taste is national. I never knew a per- 
son destitute of it make a good imitation of a Rose. 
They generally succeed better in such flowers as the 
Dahlia, Camellias, Stephanotas, and other regularly 
formed flowers. 

In coloring, do not make too frequent use of the 
petroleum colors, such as solferino and magenta, 
they are so vivid that they are apt to destroy the 
delicate tint of the other colors. Occasionally they 
look well for small flowers, such as Rose-buds, Fuch- 
sias, etc. 

In modeling fine flowers like the Mignonnette, 
Heliotrope, and Laurestinas, great care should be 
taken to cut the petals and stamens very finely ; 
neatness is one of the most requisite qualifications 
to insure a correct representation of the smaller 
flowers. 

Having given, as clearly as I can, general rules 
for coloring, curling, and arrangement of all flowers 
I will now proceed to give directions for twenty of 
the most admired flowers, as Avell as those contain- 
ing the best rules for perfecting the pupil in any 
flower they may desire to copy. Of course a good 



20 

drawing, natural flower, or wax one will be requir- 
ed as a model. 

CONSTRUCTION OF THE TEA ROSE-BUD. 

Cut tlie larger-sized petals out of iliich white wax 
or thin wax doubled — the two smaller sizes from 
thin wax; rub them with the sofrano rose bloom, 
tint some of the petals with light pink powder, 
also rubbed on, taking care to leave a portion of 
the petal uncolored at the base, as this is the part 
you require to join to the foundation. 

Take the medium-sized wire, cut a piece of the 
length of six or eight inches, and be sure that you 
turn down the wire at the top about the eighth of 
an inch, to secure the foundation from slipping off; 
put a sheet of wax on this part and make the foun- 
dation in the shape of tlie heart of the flower. This 
should be round at the base, about five eighths of 
an inch in width, gradually tapering till it comes to 
a point at the top, in shape resembling the hard- 
closed bud of the rose. Curl the edges of the small 
petals with the head of the pin, and fix them round 
the foundation, extending them at the edge to give 
an open appearance at the top. Add the second- 
sized petals and place on in the same way, rather 
on one side. The large petals must be curled very 
much, and the bowl shape made by pressing the 
edges of the bottom part together and curling it 



21 

round with the head of the curling-pin ; these petals 
are placed on, some much on one side and one or 
two of them falling backward. 

Take dark green wax and very pale green wax 
for the calyx ; join together, press the point of the 
pin at the sides, and curl the base of them with the 
head of the pin. Place these round the outside of 
the bud, add the seed cup, which is made by rolling 
dark green round the wire in the shape of a cup ; 
place the strip of green wax on the wire to make 
the stem, tint the calyx and stem with a little red- 
dish brown, which will impart a natural effect, as 
the Tea Rose calyx is seldom green. 

Take a mold of the natural leaf with plaster ot 
Paris, by procuring a real leaf, rubbing it with 
sweet oil, placing it on a piece of paper on a table, 
mixing the plaster of Paris in water till it acquires 
moderate thickness ; pouring the plaster on the sur- 
face of the oiled leaf, then add some thicker plaster 
to give it strength. In about twenty minutes take 
the mold from the table and then remove the nat- 
ural leaf from the plaster, this will readily fall off 
and leave the exact impression of the leaf. 

Make a stem of the fine wire, cover with wax 
very neatly, take a dark shade of green wax and 
press on to the surface of the mold, after having 
damped it with a little water ; press the stem on to 
the centre, then place another sheet of lighter green, 



22 

take it off the mold and cut the fine points as you 
see on the impression, color with a deeper shade ot 
green, leaving the centre rather lighter ; tint it with 
brown or any color that resembles the natural leaf. 

These rules are applied to take the molds of all 
leaves. Though you may alter the shades of green 
or the size of the wire, according to circumstances, 
the molds for every leaf are taken in the same way. 
Be sure you select a leaf with a deep impression, 
and get them of different sizes. 

Should you wish to purchase the molds, they can 
be obtained at my agents. 

THE PINK TEA ROSE. 

This flower is made in the same way. Color the 
inside petals with dark rose pink made from violet 
carmine, white and carmine ; make the centre very 
close ; color the outer petals with a lighter shade of 
pink, by adding more white powder ; curl the petals 
very thin at the edge, as the flower is very transpa- 
rent ; make the calyx rather lighter in the same way 
that you adopted for the Tea Eose ; tint them accord- 
ing to nature or the model you are copying from. 

The leaves are made in the same way as for the 
Tea Rose-bud. This flower can be imitated very 
well, and looks most pleasing in a group. 

The pink Cabbage Eose is tinted with pink in the 



23 

centre, and a very pale color outside ; the petals are 
placed on in branches of three and ^ve, and are 
very numerous. Let the centre sink, place the 
larger petals round, in a very cup-like shape, then 
let the outside ones gradually fall back ; let the pe- 
tals be curled very thin, and turned over slightly 
at the edge. 

The calyx and cup are made in the same Tvay as 
for the other Eoses. Take the mold of the leaf in 
the way as directed. The leaf is much lighter and 
not so pointed as for the Tea Eose-bud. 



MOSS EOSE-BUD. 

Form the foundation according to the size you 
require ; cut about twenty petals of various sizes ; 
color the inside ones deeper pink than the outside 
ones ; curl them at the edge ; place them round the 
foundation very tightly, making the outer petals 
extend a little, the general formation being like the 
other Eose-buds. Take very fine natural moss, 
place the small fibres on a calyx cut from light 
green wax, in the shape of the flower ; add the 
moss to the seed-cup, tint it with a little brow^n 
color, to give it a more natural look. The moss 
must be dry, and it will readily adhere to the w^ax. 
Let the fine fibres extend out at the sides and top 
of the calyx. Should you deeiro to expend much 



2^ 

time, you can imitate the moss by cutting it out of 
green wax. This is a very tedious process and re- 
quires much care, but it will be more satisfactory 
as a work of art to the pupil. 

Leaves the same as for the Cabbage Rose. 

THE PINK MOSS KOSE. 

Cut out about one hundred and twenty petals of 
various sizes ; make up in the same way as for the 
Cabbage Rose, but making the centre more full by 
adding some very small petals ; coh)r them the same 
tint as the Cabbage Rose ; add the moss to the calyx, 
and your Rose is complete. 

Moss Roses are seldom made, as the buds show 
the calyx ; and the labor is lost to view in the full- 
blown Rose, as the calyx is scarcely seen. 

TPIE WHITE EOSE 

is made of thin white wax, very full, and the petals 
much curled ; tint with pale yellow in the centre ; 
make a few stamens of fine thread waxed with a 
small portion of yellow wax on the top ; tint these 
with a little orange chrome ; place them round a 
small foundation of pale green wax cut at the 
edge. Make up in the same manner as the Pink 
Moss Rose, but not quite so large. The calyx is 
made in the same way as for the Tea Rose-bud. 



25 



THE RED OR DAMASK ROSE-BUD. 

Cut the petals out of tliin white wax, curl them 
as you would the Tea Rose, then take a brush and 
color with carmine ; place them on the foundation 
and then add the calyx. 

Damask, purple, and bright lake-colored Roses are 
all made in the same way. A very beautiful color 
for a rich purple Rose is made by the violet carmine 
bloom prepared by me. This can be used dry and 
the petals curled after they are colored. !N'ever 
rub pure carmine with the dry color, as it becomes 
dingy by friction. Carmine must be always used 
as a wet color. 

This concludes the chapter on Roses. I would 
advise the student to pay particular attention to 
imitating these, the most beautiful of all flowers. 
Taste, fancy, and color can never be exhausted in 
their manipulation. A group of flowers without 
Rose-buds is as destitute of beauty as a landscape 
without water. Like the stars, they diversify and 
illuminate what else were monotonous and dark. 



FORMATION OF THE HELIOTROPE. 

This is a difficult flower to imitate, and requires 

some patience, but will amply repay it, as it can be 
3 



26 

copied very perfectly, and is a most pleasing ad- 
dition to a group of flowers. 

Get very thin white wax, double it, cut the five 
petals in one, making a sort of star ; curl these with 
a small pin ; make a hole in the centre ; take the 
finest wire, make a small green head, about the 
size of the head of a pin. After the wire is doubled 
over once at the top, for the purpose of securing the 
foundation to it, pass the wire part through the hole 
in the centre of the star-shaped petals till they touch 
the surfacCo Get a small band of light green wax ; 
roll it round the back of the petals to form a cup ; 
press the centre of each petal into this with a small 
curling-pin ; then gradually draw the stem through 
into it, so as to give the hollow appearance seen in 
nature. 

This requires great care, lest you draw the wire 
out of the foundation. The least motion must be 
used. 

After the flower is formed, take the small bristle 
brush ; use the mauve color and white, (which will 
make the most delicate lilac;) color the edge of 
the petals, leaving the centre white; take the 
smallest sable brush, and tip the centre with light 
green. 

The back of the flower will be rathe}' larger than 
in the natural flower ; but, as the flowers are placed 
close together, it will not be observed. The reason 



27 

of its being made larger is, that the petals could 
not be pressed on to a snfaller foundation, so as to 
fix them securely. 

About fifteen or twenty blossoms, with buds made 
of small pieces of solid white wax, colored purple, 
will make a very eifective and pleasing group. The 
leaves are made of a dull shade of green wax 
pressed on the plaster mold. 

LATIRESTINAS. 

This flower is made of wdiite wax doubled, (for the 
larger blossoms trebled,) as the flower, though small, 
has a very thick appearance ; it is cut altogether, 
and looks like the heliotrope, only larger. After 
cutting out, rub the petals with white powder and 
arrow-root, with the slightest shade of the ]3alish 
yellow, barely enough to turn the color into a yellow- 
ish white ; curl the petals with the head of the small- 
sized curling-pin, and make the centre of very flne 
white thread E'o. 100, waxed with white wax ; 
add the little tops about the size of half a pin's 
head — these are made of yellow wax ; join them 
to a piece of the finest wire with a small green 
thread for the centre. The stamens should be 
about the sixth of an inch in height ; a hole is 
made in the middle of the star-shaped petals, and 
the wire passed through, leaving the stamens out 
and the petals round. A small cup for the back or 



28 

calyx is then to be made, the petals to be pressed 
on to it. The stem is to be made a reddish brown, 
and the blossoms joined together to form a group. 
The buds are made of solid white, tinted with pink ; 
the leaves are formed of dark green wax, tinted 
pink at the back, and veined with a darker tint of 
red. 

FOEGET-ME-NOT. 

This flower is made in the same way as the fore- 
going ; the only difference being, that the centre is 
composed of minute pieces of yellow wax, and the 
petals tinted with light blue, made from cobalt, and 
a small portion of white. 

The leaves are of a bright green color ; five or six 
blossoms and two or three buds will make a pretty 
group. 

THE MIGNONNETTE. 

As the formation of this flower is, perhaps, the 
most difficult to describe, I will endeavor to do so 
with accuracy. Take a piece of fine wire, about 
five inches in length; make a little top, w4th the 
palest yellow green, in the shape of a caraway 
seed ; cut a small piece of wax about an inch in 
length and one fourth in depth ; cut this so as to 
make a fringe ; roll it round the top of the wire, 
lowering it as you roll it, so as to make the top in a 



29 

pyramid shape. Then take another strip of wax of 
the same color, double it, and turn over at the top ; 
cut so as to separate it ; roll round in the same way 
as before, so as to form the head or spike of flowers. 
The next things to be made are the buds, which 
should be cut from pale green and white wax into 
six small points. These are rolled round, taking 
care that the ends are not pressed together ; they 
are to be placed round rather lower, five in number. 
The next, half-blown blossoms, are made from light 
green, cut in the same way as the buds. Take a 
small piece of white wax, cut into a fringe of about 
•the eighth of an inch in width and a quarter of an 
inch in height; roll these inside the green wax, 
taking care that the fine points expand at the top ; 
these are placed on in the space left by the buds ; 
add two or three rows under, made in the same 
way, with the addition of a few fine threads in the 
centre, made of ^N'o. 100 spool thread, waxed with 
pale yellow ; this will give strength to the flower 
and delicacy to the stem. After they are made up, 
take a sable brush and paint the bottom of the 
blossoms with a little orange color ; afterward add 
a little brown or red, to make it darker at the ends. 
The principal difficulty in making this flower is 
the patience required in cutting and fixing the blos- 
soms. Practice and attention to these rules will 
enable the student to attain to perfection. There 



30 

are few flowers more highly prized than the mignon- 
nette ; the delicacy and beauty of its form is ex- 
pressed in France under the affectionate diminu- 
tive, •' The Frenchman's Darling." 



THE WHITE CAMELLIA. 

The petals of this chaste and beautiful flower are 
cut from thick white wax and rubbed with arrow- 
root ; the stem should be made of the larger- sized 
wire, bent over several times at the top. Form the 
foundation of white wax, making it in the shape 
and size of a small almond. Place the three small 
petals in the palm of the hand and curl them so that 
the concave part of the petal should fit over the 
foundation. Place a larger size, three in number, 
in the spaces left by the small petals ; the other 
petals are placed rather above. After you have put 
on five or six rows of the smaller petals, turn the 
larger sizes back ; these should be placed round the 
centre and curled very much at the edge to give 
that beautiful thinness so observable in the natural 
flower. 

The calyx is made of green wax, colored with a 
slight tint of brown. 

The leaves are formed on the plaster mold with 
dark green wax, two thicknesses and a light shade 
at the back. After you have cut the fine edge, or 



81 



points on the leaf, color with dark green, afterward 
polish with a dry brush, as the leaves have a very 
bright surface. 

This flower is much used for decorations and 
head-dresses. It is easily constructed. 



THE CAKNATION. 

This flower is cut from white wax, the petals very 
much curled with the stem of the pin, so as to form 
a ridge in the centre of each. Color the petals with 
white, or the color of the flower you are copying, 
and then pencil them with the sable brush, making 
the stripes of various sizes. Care must be taken to 
curl the petals before coloring, as the marks would 
rub off and look indistinct. 

The stamens are made of waxed thread, E'o. 30, 
turned over at the top and placed on a thin foun- 
dation of pale green wax, added to medium-sized 
wire. Place the petals on in rows of five, letting 
each row fall a little, the preceding spaces to be 
filled by the succeeding petals. 

The calyx is made of pale green tinted with a 
darker bluish green made from orange, prussian 
blue, and white. 

The leaves are cut from green wax and tinted 
with the same color. 

The dark Clove Pink is made exactly in the same 
3* 



way as the Carnation, except as regards the color. 
This is obtained by carmine for the centre petals, 
and a little violet carmine added to carmine for the 
outer petals. A beaiitifal sort of Clove Pink can be 
made by rubbing the petals with my violet bloom ; 
the calyx and leaves are made like the Carnation. 

THE ENGLISH PINK. 

In construction this flower is similar to the pre- 
ceding; the petals are cut at the edges into small 
points, and the centre of each is colored with a spot 
of dark purple, made from violet, carmine, and 
Prussian blue. The leaves are similar to the Car- 
nation in form and color. 

WHITE WATER LILY. 

There are few flowers more popular than the 
Water Lily, or that present a prettier appearance 
when imitated in wax. It is easily made. Take the 
extra thick wax, or doubled thin wax, and cut out 
about thirty petals ; rub them with arrow-root, and 
curl them well at the edge ; take yellow wax for 
the stamens, and cut out about five rows, according 
to pattern ; tint the insides with orange, and the 
outer stamens with bright yellow. Make the centre 
of solid wax, on wire of the largest size ; press or 
indent the marks with the point of the curling-pin ; 



33 

place the stamens round, then curl the petals; mak- 
them very round and thin at the edge ; place the 
smallest size round, and the remainder in rows, of 
^ve each row, fitting into the space left by the pre- 
ceding petals. Let them form a cup ; turn the last 
row down. Should you require a full-blown flower, 
make the four calyx of doubled green wax, and 
white for the inside ; curl them in the same way as 
the petals, and place them round the flower at 
equal distances. Sometimes the calyx is tinted 
with brown ; if so, shade it with carmine ; this over 
the green will make a brown tint. Should it be 
darker than the green wax, color with the prussian 
blue and orange. To make the shining surface, rub 
them with the dry brush ; make the stem very 
thick, and color brown. The bud is made in the 
same way, only with a few petals closed over a 
foundation of white wax. ]^o centre is required, 
as it is not seen ; calyx the same as the flower. 
The leaves are made of dark green, sometimes tinted 
brown and penciled with red veins at the back. 
This flower looks well in a group by itself, or placed 
on a mirror of plate glass. 



RED FUCHSIA. 

The beautiful red sepals which form the calyx 
are cut from doubled wax, the four inside petals 



34 

from sino;le wax. Color the former with carmine 
after they are curled at the edge, leaving the 
neck of the petal micolored. Color the centre 
with purple made of mauve, then make the sta- 
mens of thick thread, JN'o. 20, waxed with white 
wax ; make a small top to each ; color them with 
carmine, place them on a foundation made of 
the fine wire; fix the four purple petals round; 
roll a small portion of white wax to form the 
neck of the flower, and place the four crimson 
sepals round; make a small ball of green wax 
at the end of the neck to form the seed cup; cover 
the stem with a thin strip of wax, and then make the 
buds of solid wax, in the shape of the natural ones. 
Color them with carmine ; press the leaves on the 
proper mold of plaster, and make the lines in the 
centre red with the sable brush. A few buds and 
blossoms arranged to droop down a vase or bas- 
ket of flowers look very charming. 



WHITE JASMINE. 

Cut out the petals, five in number, from white wax 
doubled ; rub them over with white color and arrow- 
root ; make a stem of fine wire with two fine points 
of light green wax. Curl the petals well at the 
edge, place them round the foundation of the flower 
evenly. Then add the calyx, consisting of five 



35 

thin points of green wax. Cover the stem with dark 
green, roll the buds out of solid white wax into the 
proper shape, add a few leaves made of a dark 
shade of green, and join them together in an irreg- 
ular manner. 

This simple flower looks well at the top of a 
group or basket, and gives a lightness, adding to 
the general effect. 

THE YELLOW JASMLNE. 

This flower is made in the same way as the 
White Jasmine, but is cut out of yellow wax, and 
is rather more round in the shape of the petal. 
The leaves are not so pointed, but are made of the 
same color as the White Jasmine. 

DOUBLE PUEPLE VIOLET. 

The petals are cut from single thin wax, colored 
with, purple made by my violet powder. They 
must then be curled variously, with the pin, placed 
round a foundation of yellow wax on fine wire ; 
then turn over the stem, cover with pale green 
wax. Five points of the same color form the calyx. 

Take care in coloring that you leave about half 
of the petal white at the base, or it will not look 
natural. This flower is easily imitated in wax. 



36 



THE DARK GERANIUM. 



Cut out the three small petals from thin white 
wax, the two larger size back petals from doubled 
wax ; curl them at the edge afterward. Color 
the small petals with carmine and white color, 
(wet ;) the larger petals are first colored at the edge 
with a deep pink made of carmine and white ; 
then color the surface (but not quite to the edge) 
with pure carmine, the next tint carmine and 
violet, after in the extreme centre, with violet, 
carmine, and prussian blue mixed with a little 
thin gum water. The lines or marks are made 
with the sable pencil painted over the flat surface 
of color, and should be delicately touched. The 
centre is made of fine thread waxed, and the five 
points placed together, letting them expand at the 
top. Color them with a reddish purple, and add 
some fine points cut from white wax, for the sta- 
mens. Place the three bottom petals on first; then, 
the dark petals at the back. Cut the calyx out 
of green wax, and put round the flower. 

The leaves should be pressed on the mold, and 
arrow-root and green rubbed over to give the down- 
like appearance. This can not be imitated per- 
fectly, but looks well when the natural flower is 
not present. 

There is no flower more difficult to paint than 



37 

this. Those who understand coloring will find it 
comparatively easy ; but I would not advise those 
totally unacquainted with color to try it. 

LILY OF THE VALLEY. 

This flower is made on the wooden mold for that 
purpose. Take white wax, press round the top of 
the mold, after it is wetted. This will form a bell. 
Slip off the mold and cut the six points ; make a 
centre of fine points of yellow wax ; roll these round 
fine wire, and pass this through the cup, roll light 
green round the wire for the stems ; make the bud 
of solid wax, and place them on a thicker piece of 
wire in a drooping shape, then add the blossoms; 
make the leaf of darkish green on the surtace, and 
light green at-the back. Be sure you do not polish 
the leaves, as this is not conformable with nature. 
Close the leaf round the base of the spray, and this 
will form a very graceful addition to a group of 
flowers. 

THE TUBEROSE. 

Cut the petals out of trebled white wax ; rub 
with dry color made of arrow-root, white, and the 
slightest tinge of yellow ; curl them well at the edge, 
and place on the foundation made of yellow points 
on moderate thickness of wire; tint the outer 



38 

petals with pink at the back, and sometimes with a 
dull yellow green color ; make the stem of very 
yellow pale green and of a moderate thickness. 
This flower is very easily imitated in wax. 

I have now given, to the best of my ability, the 
directions for the most popular flowers. Should the 
pupil find any difficulty, I shall be happy to give 
her any instruction, should she desire it. I would 
recommend those who wish to learn the art to 
apply to some respectable teacher, of name and 
standing in her profession, and to avoid those peo- 
ple who are not professional — a large class, I am 
sorry to say, who pretend to teach when they are 
the parties who require instruction. Quackery is 
not limited to medicine only; pretension, assuming 
" the borrowed robes " of art and science, is rife in 
every department, and, when we strip quackery of 
its theatrical assumptions, we but find the poor 
learner who aspired to the rank of teacher. Look 
well into their productions ; see if they have imita- 
ted nature ; do not bind yourself to take a certain 
number of lessons, but see if they can teach what 
they profess. 

In concluding this little treatise, the author can 
not help thanking his pupils and the public for the 
great kindness and patronage extended to him 
during his stay in the United States. He trusts 



39 

that his artistic ability has merited it. He thinks 
that his introduction of many new methods of over- 
coming the difficulties in this beautiful art have at 
least saved them some trouble, and assisted them in 
attaining greater perfection in their studies. 



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